In the 'Saturday morning quote' you put on line today and publicised
(as usual) on this forum, you speak of historically informed
performance in relation to an Air de cour by GuÃ©dron entitled 'Bien
qu'un cruel martire'. You claim that 'When the modern editor AndrÃ©
Verchaly published his collection of airs, he transposed the keyboard
transcription of the lute part to fit the key of the voice part in
Batailleâs original print.' This is not true at all. The rendition in
staff notation (why do you automatically think 'keyboard' when you see
real notes rather than tablature?) is exactly what Bataille published
in his 'Airs de differents autheurs'. If you look closely at the
tablature, the first note for the singer is given before the time
signature. In the piece you refer to, the note indicated is an open
fourth course. If one assumes a lute at the nominal pitch of a', then
the first note for the singer is a G, which is exactly what Verchaly
has indicated, identical to Bataille's printed Air and lute. Your
assumption of 'a lute tuned in our modern standard of âGâ' is
fallacious. These airs would have been accompanied by lutes of various
pitches to fit the singing voice.
The top note in the piece is a G5, hardly 'stratospheric' or
'dog-whistle range' as you call it. We do not know what the accepted
pitch was at the time (if indeed there was a standard pitch) but it is
very likely that it would have been lower than modern pitch of a' at
440. This music is commonly played at a' 415 today.
Why do you refer to 'Airs de Court' on your CD rather than 'Airs de
cour' ? Is there some kind of connection with a tennis match ?
On 15/10/2016 16:26, Ron Andrico wrote:
We have posted our Saturday morning quote and offer a HIP score.
Ron & Donna
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